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Spatiotemporal Composition Works

Chatori Shimizu Portrait Concert

 

June 22, 2014 (Sun)

Ryogoku Monten Hall (Tokyo, Japan)

 

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Program:

 

 Opening Bell for AIFF data

 

 umbra  for violin [info]

 

 Shiki tō Unkai for soprano saxophone and cello [info]

 

 World of No Overlaps for piano

 

 fiddle for string quartet

 

 ---Intermission---

 

 Bakekujira for AIFF data

 

 ---Lecture about Spatiotemporal Composition Works---

 

 Shiki tō Unkai II for shō and cello [info]

 

Shō  Naoyuki Manabe

Piano Yusuke Satoh

Violin Kasumi Sakakibara

Violin Kaho Orido

Viola Kengo Naito

Cello Akira Sato

S.Sax Yasumi Tanaka

 

Installation Ayaka Miyauchi

Exhibition Tsubasa Shindo

 

 

Composition Chatori Shimizu

Introduction:

  Many view contemporary music as a genre one cannot fully understand. But we must note that the market for contemporary art, excluding contemporary music, is rapidly expanding in this economic slowdown. Jackson Pollock’s abstract painting sold at an absurd price, Jan Svankmejer’s surrealistic films screened in major international film festivals, and data from Japan’s Ministry of Education, Culture, Sports, Science, and Technology which suggests a growing number of Japanese people are visiting art museums all sums up to a question why contemporary music has been left out in the cold.

  I believe that we can roughly explain in two reasons why contemporary music has been cut out of mainstream society. One is the development of entertainment and the wide spread of mass communication, with the television as its head. When audience rating is low on television programs, it will be more difficult to find a sponsor for the show, resulting in a budget cut for the program. Therefore, television programs offer the audience with what I call “baby-food information”, or information which the audience does not have the need to use their brains. With the soft information and the effective usage of sound effects, audiences are many times being amused without thinking neither subjectively nor objectively. It is not a surprise to me when the society, especially our generations, to keep a distance from contemporary music – which forces the listeners to think, to a certain extent.

  The second reason, I believe, is the academism in this genre of music. To fully understand and analyze Schönberg’s or Webern’s works, we must study a special subject of study such as the Twelve Tone Technique or the Set Theory; something that is rigorous even to music majoring students in colleges. Perhaps a reason why contemporary music does not exist outside academic institutions and concert halls?

  As a composer living in the 21st Century, I would like to introduce two of my long-term plans to spread contemporary music in the mainstream society. One is to make more opportunities to collaborate with mainstream media – such as scoring for films, designing sound for art installations, and composing music for contemporary artworks. In fact, many horror films already has taken in atonal music for its soundtracks as human are programmed in a way that when we encounter information (sound) not stored in our memory, we feel great uneasiness and fear – a simple example of how we can use our psychological features to find new markets for this genre of music.

  Another of my plan is to introduce a more “open” contemporary music concerts. It is a usual scenario that when a young composer plans a concert, the audiences attending the concert are all his/her friends and acquaintances. I strongly believe we must not be conservative, and to make an effort to make contemporary music a more “open” music to the public.

  I would like to mark a notable milestone in my compositional career with “Spatiotemporal Composition Works”, my first solo composition concert. The music I would like to introduce were all composed with the concept “various types of sustainability”. I want to present you with a vibrant and diverse programming not yet a mainstream in the world of academia by not only premiering my musical works, but also displaying three art installations and an exhibition of my scores.

Shiki to Unkai (2013), performed by Yasumi Tanaka (Sop. Sax) and Akira Sato (Vc.)

World of No Overlaps (2014), commissioned and performed by Yusuke Satoh (Pf.)

fiddle (2014), premiered by Quartet Pienno

Shiki to Unkai II (2014), premiered by Naoyuki Manabe (Shō) and Akira Sato (Vc.)

Composer Talk by Chatori Shimizu

Installations, Nihonkai (2014), Fujisan no Unkai (2014), Takeyabu (2014), collaborative work with Artist Ayaka Miyauchi

Audience experiencing the installations, Nihonkai (2014), Fujisan no Unkai (2014), Takeyabu (2014)

Installation, Fujisan no Unkai (2014), collaborative work with Artist Ayaka Miyauchi